Opening today "In the Shadow of the Sun"
The best Chilean film in the last few years! "In the Shadow of the Sun"
Remarkable impact by national filmmakers! "In the Shadow of the Sun"
"In the Shadow of the Sun" Desert, fugitives from the law, crime and punishment: A classic format for a Chilean document.
Mysterious, Violent, True "In the shadow of the sun"
"In The Shadow Of The Sun" And Signs Of Our Catastrophe.
In the summer of 1972, I was 14 years old
and, like many other young sympathizers of Salvador Allende's government,
I had joined a voluntary workforce set up by local students unions.
For my part, this was the right way to express my commitment
to the socialist agenda of the Popular Unity coalition.
I remember one night, just outside our camp,
a documentary was shown about the activities of the Ramona Parra Brigade,
and although not a communist, I felt that the images faithfully described
the type of commitment called for by the political times.
Years later, after the traumatic military coup of 1973,
I saw "In the Shadow of the Sun", a film by Silvio Caiozzi and Pablo Perelman,
which once again reminded me of experiences during my stay at the volunteers' camp.
Don Esteban for God's sake!
Today as an analyst,
I believe that the connections between what was seen and thought
were no more than the expression of the same doxa,
that field of suppositions which participants of an historical event
consider as given and that admits no debate.
The Doxa of Discourse
This is a popular, democratic, national and revolutionary government,
that must fulfill a programme
to quickly open a wide road to socialism, and the transformation of our society.
Which is to say, through the participation
the workers will be able to break
the capitalist structure of corporations.
Yes, union leader from the Vicuña Mackenna industrial belt
What are you doing here in the farmstead occupation?
We think it's necessary to unite the working class with our peasant comrades,
to strike together against the owners
in the sense, let's say, that the problems we have are joint problems
and that we have to identify a solution from a class perspective.
Community committees are clearly a people's organization in struggle,
this is a people's organization where all the proletariat class should be taking part.
We the workers are in our combat post
which is our source of work, building the necessary elements
to defend ourselves until the last man and woman from any fascist counterattack...
The field for these intellectual axioms
was divided into categories such as people, participation, organization and work,
truths of daily existence that lead towards socialism.
However, the aforementioned doxa has a pictorial and discursive character,
and it was only via the technical knowledge characteristic of the cinema
that another visual representation could be attained.
The Doxa of Discourse in the Cinema
This is a popular, democratic, national and revolutionary government,
that must fulfill a programme
to quickly open a wide road to socialism,
and the transformation of our society.
We think it's necessary to unite the working class with our peasant comrades,
to strike together against the owners
in the sense, let's say, that the problems we have are joint problems
and that we have to identify a solution from a class perspective.
Which is to say, through the participation
the workers will be able to break
capitalist structure of corporations
Community committees are clearly a people's organization in struggle,
this is a people's organization where all the proletariat class should be taking part.
We the workers are in our combat post
which is our source of work, building the necessary elements
to defend ourselves until the last man and woman from any fascist counterattack...
Every film is a visual artifact,
the result of work that is exercised by forms of perception
pertinent to each historical and social period.
"In the Shadow of the Sun", the film I have chosen for this analysis,
expresses, at an image level, a content which extensively refers
to the imagery of Chilean social cinema.
Caiozzi and Perelman's film deals with an bloody deed
that apparently took place at the end of the forties.
Two criminals escape from the prison in Calama
and head off into the Atacama desert towards Bolivia.
Their journey leads them to the mountain village of Caspana,
where the inhabitants offer them warm hospitality.
They then continue their journey, but rape two shepherd girls.
They are then chased and captured by the villagers,
who subject them to a public trial, where they are condemned to be shot.
In this film, all the characters appear to be visually sketched
with the straightforwardness of the working class,
icons of a former political period, in whom hope had been placed for social change.
Beyond the relative nuances of the image structure,
are the story and its arguments themselves, which, with a minimum of discretion,
develop the idea of people's justice,
a central theme in the discourse and political organization during the Allende government.
Justice is not an individual act
They're saying over there that the mayor is the only one who can sort these things out.
No, mister! This is something that all of us must see to.
Hey don Felix, why didn't the mother of the girls come?
Because the mayor didn't want the girls' mother to come,
- And that is something he can decide. - Shut up Gregorio
- I was just saying. - Silence.
Doña Mercedes didn't come because she's looking after her daughters
When he only just sent Arcadio over to guard those outsiders,
those animals, when I should have done it
- Shut up Gregorio - I'm not shutting up...
because if I did no one says anything.
Would you like me to go to the coral and release those filthy pigs?
Sure, and then I'd be in the shit up to my neck.
Get out Gregorio, you're talking rot, and you're drunk. Get out of here!
Justice is not an individual act, JUSTICE IS A SOCIAL ACT
I wanted to kill those men.
I was so angry when I heard they'd abused my sister;
I thought I was alone...
and that's why I though no one would help me,
that's why I was angry with the major
and with Arcadio.
But now, since Arcadio has gone down to Calama to make a statement to the police,
...we are all alone.
Gregorio, open the door.
Whoever wants to can go.
Those of us who stay have to decide.
When the authorities arrive from Calama, those men shouldn't be here.
They have brought evil to Caspana, that's how I see it.
There is also a law here.
We are the law.
We are the law.
Women, men, our homes;
everything that lies in the valley is our law
When the sun rises, we shall have decided what to do.
What is important...
is that no one else should know that these men were here or what they did.
Social justice is people power
For those who think...
that I am sometimes unsteady,
we have to strengthen...
the power of the people,
the mothers' centers, neighborhood organizations,
the supply and pricing boards,
community committees have to be strengthened,
the industrial belts have to be strengthened.
To create people's power!
To take care, to create people's power!
Throughout the length and breadth of the country
one single cry can be heard, in the factories, farms, settlements and schools,
in the people's barracks, the call to create,
to create strength and increase popular power,
the power of the people's committees,
the power of...
Create a people's militia!
Don Felix, tell him they're not going to kill us.
You will have problems if you kill us!
Get us out of here!
These fucking Indians are just murderers!
For God's sake that's unjust!
Socialist imagery of the left, perhaps the most orthodox type,
is clearly present here, for in this utopian social perspective,
the individual as such does not exist, except as an expression of their society.
Get us out of here!
Every film script should respect a certain rationality,
for this is where a story's credibility lies.
This is why it is understandable that the film breaches its own fictitiousness,
integrating within and not outside of the story,
the testimonies of those witnesses who can vouch for what has occurred
as a genuine incident.
Forty-five years ago,
when still a young boy,
I wasn't directly involved...
in this case but it happened...
and my family was involved.
A decision which necessarily requires a double reading,
as cinema is an art which in practice can not ignore the metaphor.
A poetic expression that, during the period of socialist inspiration in Chile,
had to be based on reality.
This was a utopia the reverse of which was an ideology,
for the inclusion of witness accounts,
not only proved the truth of what had happened,
but also served as an unconscious corroboration of the film
and the content molded by its authors.
Rather than a mistake, this was an act of cultural naïveté
that prevailed during the Popular Unity period,
making us blind to the oncoming catastrophe.
Years passed...
two or three, I can't remember,
and the police were forced...
to investigate what had happened in that case.
They looked for the mayor and judge
and took them away to be judged.
I don't know how they knew what had happened...
that they came to find them.
So that's how my family was arrested.
...and they remained detained for at least a year.
Although afterwards the punishment was suspended.
They realized that it hadn't been done as...
a show of bravado but as an act of defense,
and because of that they were released.
You've partly answered this question but I'd like to put it on record.
What called our attention to the film was the presence of those witnesses.
How did they help you? What was your intention by including them?
I believe that a story based on real events
has a different weight to one based on absolute fiction.
I think that the presence of the witnesses
was a clear way of stating that this was based on true events,
lending the film a certain credibility.
It definitely had a political significance;
just think about the time that it was made, shortly after the Popular Unity,
and we'd all been supporters of the P.U.,
or rather, we had a close, relationship with...
what you could call people's justice...
an emotionally strong relationship.
And we felt it had something to do with that.
Even though we tried to make the film as distant as possible as regards political issues,
for obvious reasons... we had to put something into it.
The issue of people's justice in the film is clear,
is that linked to what you said earlier
about in some way try to create a minor resistance?
I must confess that I've always felt a certain ambiguity.
At the time we made it...
it wasn't clear that it was something on the left or on the right.
Now, after all this time, I increasingly realize that it was clearly that;
we were talking of the ability of people...
to take their destiny into their own hands, which is totally left-wing.
In the case of 'In the Shadow of the Sun' this is an issue of justice in which
an injustice is caused by these men as they pass through the village
and are tremendously abusive and in the end
the villagers deliver their own justice,
people's justice as you say, a justice according to hundreds of years of tradition...
that compels them to perform that type of justice.
Or rather, to execute these outlaws,
and they hadn't even killed anyone,
just for the simple fact of abusing a village that had sheltered them.
That was their justice;
our judicial system would have sent such types to prison for a couple of days and no more.
For them, however, the damage was very deep,
and the laws of their culture dictated the outcome.
People's justice was a strong issue at that time,
and we were certainly motivated to choose that issue
because it was an issue in the minds of everybody.
So you are attracted by what is in the mind of everybody and also in yours;
the issue of people's justice: How many justice systems should exist?
How many different systems are there?
You start to doubt this game of saying that there's only one system.
To what degree is there only one system when there are so many different cultures?
Now, think how unconscious and naive we were.
The truth is that if we had been just a little aware
of what was happening in the country at that time
we would never have made the film, because we were putting our very lives at risk.
As simple as that.
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